The New York Times' Scores

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For 20,280 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Short Cuts
Lowest review score: 0 Gummo
Score distribution:
  1. Positive: 9,381 out of 20280
  2. Mixed: 8,435 out of 20280
  3. Negative: 2,464 out of 20280
20280 movie reviews
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  1. The Eel
    Yakusho and Ms. Shimizu deliver unerring performances in a splendid film that harvests hope from a bleak landscape.
  2. Cousin Jules
    Cousin Jules is in many ways a wonder to see and hear, but there is less to it than meets the eye.
  3. Skyfall
    As Bond sprints from peril to pleasure, Mr. Craig and the other players - including an exceptional, wittily venal Javier Bardem, a sleek Ralph Fiennes and a likable Ben Whishaw - turn out to be the most spectacular of Mr. Mendes's special effects.
  4. Thunder Soul
    By introducing funky licks, fancy footwork and many of his own compositions to the band's stodgy set list of jazz standards, this indomitable leader (whose declining health adds a poignant twang to the film's final scenes) instilled racial pride alongside musical competency.
  5. Of Time and the City
    It is a deeply personal piece of art that never descends into the confessional or the therapeutic, and a work of social and literary criticism that never lectures or hectors, but rather, with melancholy, tenderness and wit, manages to sing.
  6. Amanda
    Amanda is absurd and abrasive, but also sympathetic thanks to Porcaroli’s performance. She’s a flaming narcissist with a gooey core of vulnerability, a being forged by the fear of making herself known.
  7. Consuming Spirits
    It is a work of obsessive artisanal discipline and unfettered artistic vision. You have never seen anything like it.
  8. Memoir of a Snail
    The world that Elliot creates is so strangely beautiful that it’s fun to look at. Plus, the end of “Memoir of a Snail” redeems its flights into tedium by giving us a reason to have watched them.
  9. The Janes
    Cookie-cutter though it is, The Janes does have something going for it: its interview subjects, the former Janes, who all speak about their beliefs and shared past with striking clarity.
  10. A Fantastic Woman
    Psychologically astute and socially aware as the film is, it is also infused with mystery and melodrama, with bright colors and emotional shadows.
  11. Your Name.
    The beauty of Your Name is that, as in the best animated movies, the thin black lines of the character design invariably dissolve, and all that remains are Taki and Mitsuha, thoroughly mixed-up teenagers.
  12. The Scent of Green Papaya
    The Scent of the Green Papaya marks a luxuriant, visually seductive debut for Mr. Hung, whose film is often so wordlessly evocative that it barely needs dialogue. Reaching into the past for its precisely drawn memories, it casts a rich, delicate spell.
  13. Melancholia
    Melancholia is emphatically not what anyone would call a feel-good movie, and yet it nonetheless leaves behind a glow of aesthetic satisfaction.
  14. You, the Living
    The film is slow, rigorously morose and often painful in its blunt reckoning of disappointment and failure. It is also extremely funny.
  15. Upstream Color
    With its fragmentation and mysteries, Upstream Color offers itself up as a puzzle as well as a philosophical toy that you can spin and spin until the cafe closes and kicks you into the night.
  16. Dreams
    Coming-of-age works are about discovery, but Dreams reminds us that this process can be fluid and fanciful. Our fantasies shape who we are because they invite us to clear out the mist — and find firmer ground on the other side.
  17. Hunt for the Wilderpeople
    Hunt for the Wilderpeople takes a troika of familiar story types — the plucky kid, the crusty geezer, the nurturing bosom — and strips them of cliché. Charming and funny, it is a drama masquerading as a comedy about an unloved boy whom nobody wants until someone says, Yes, I’ll love him.
  18. Ballets Russes
    Ballets Russes does tell a marvelous story of midcentury show business, encompassing both the most exalted expressions of pure art and the sometimes grubby commerce that sustained it.
  19. The General
    Mr. Boorman, working in top form with a keenly acerbic overview, has written the film so sharply that the facts speak well for themselves.
  20. Disturbing the Peace
    Their stories are compelling — and persuasive.
  21. Harry Potter and the Goblet of Fire
    His (Ralph Fiennes) Voldemort may be the greatest screen performance ever delivered without the benefit of a nose; certainly it's a performance of sublime villainy.
  22. Mikey and Nicky
    Miss May is a witty, gifted, very intelligent director. It took guts for her to attempt a film like this, but she failed.
  23. Paprika
    A gorgeous riot of future-shock ideas and brightly animated imagery, the doors of perception never close.
  24. Hell and Back Again
    You can feel just how jarring and stressful it must be for a soldier to go from the life-and-death adrenaline rush of war to the maddeningly slow world of rehabilitation and forced inactivity.
  25. Il Postino: The Postman
    A rueful, warmly affecting film featuring a wonderful performance by Mr. Troisi, The Postman would be attention-getting even without the sadness that overshadows it. [14 June 1995, p. C15]
  26. The Hate U Give
    Ms. Stenberg, Mr. Hornsby and others in the ensemble (including Regina Hall as Starr’s mother, Lisa) are more than capable of exploring their characters’ depths, but a wonky script gets them only so far.
  27. Come See Me in the Good Light
    Nonfiction films often grapple with mortality and the meaning of existence, and usually those center on grief. This one wraps its arms around the full range of feeling that follows a terminal diagnosis: fear, love, desire, anger, wonder, hope, despair, even joy.
  28. Hairspray
    The overall mood of Hairspray is so joyful, so full of unforced enthusiasm, that only the most ferocious cynic could resist it.
  29. Faya Dayi
    Unifying this elliptical canvas is the sense of a contemplative search, which can also mean an escape from an altered homeland, perhaps to dull what feels lost.
  30. Bruiser
    arren uses an assured hand in treating the family melodrama with the tenderness of a tone poem. For most of the film, he avoids painting in broad strokes while ratcheting up the conflict between Porter, a tattooed veteran living on a boat, and the bespectacled, seemingly upright Malcolm.
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